A Period Patch

Mending clothes in the early 19th century would have been a regular occurrence. Just because you had a hole or a tear didn't mean you went out and bought something new or had a new one made up.  Hand sewing a garment took time. Shirts were typically well made since they were considered an undergarment and needed to hold up to washing.

Recently my husband asked me to repair one of his linen reenacting shirts. The poor old thing (the shirt not my husband) had developed a hole in the back shoulder area. It's a high-stress point for him since he removes his shirt by reaching over his shoulder then pulling forward. Apparently, I'd patched his shirt before since the evidence was staring me in the face (see next photo).

If you study original garments in museum collections then chances are you've come across some patchwork. The patch may or may not match the original fabric. About twenty-five years ago I learned how to patch garments in a period-appropriate fashion. In truth, I enjoy mending our historical (reenactment) clothes. Patches give the garment patina, make it looked lived in, and provides a more realistic interpretation of the past. As a docent at a historic site or weekend reenactor, clothing should look the part to be believable. If you're portraying a working-class person then your clothes would have wear and tear. Don't misunderstand, not everyone was running around in worn-out clothes but they wouldn't have all look like they'd just finished a new outfit either.

In the event, your garb requires a repair, here is a historical way to mend it.

In this photo, you see the first repair I made to the shirt a few years back. It held up very well but the area around it did not. I gave some serious thought to just adding another patch to this area; essentially creating a patch on patch look which is very common on original clothing.  But, I decided to go ahead and cut out the worn area along with the old patch.

In my stash of remnants, I had the perfect piece of linen to match the shirt. I literally have three drawers full of scraps leftover from previous sewing projects.  The linen on my hand is the scrap piece to be used as the patch and the shirt to be repaired is underneath.

Here the worn section (and some extra) has been completely removed. I ended up making the hole much larger than the actual tears. Upon closer examination of the fabric surrounding the torn area, I found it was very thin. My husband wears this shirt a lot throughout the year. Constant sweat and stress to the area caused the fabric to 'thin' so I went ahead and cut out the weak areas in hopes that the mend would last longer.

NOTE: This view is of the outside of the shirt.

Lay the scrap piece on top of the cut hole. In this case, the hole is visible through the scrap linen.  If your fabric is not sheer enough then you'll need to measure the hole and patch more precisely...I prefer the highly technical "eyeball" method, as seen here. This hole is rather large so the patch needs to be larger than the hole by roughly 1/2"-5/8" all the way around. It can be smaller but you need enough fabric to fold over the patches cut edges about 1/4", as well as, fold over the cut edges of the hole 1/8"-1/4".

NOTE: This view is of the outside of the shirt.

My patch is cut out.

NOTE: This view is still the outside of the shirt.

Press all four sides of the patch piece over about 1/4". 
If this was a printed fabric, this would be the side to show through the hole (so the right side of the fabric)

Turn the shirt inside out and place the patch over the hole being sure it is centered over the hole. It is important the patch is centered!! Double-check that there is at least 1/2" distance from the cut edge of the hole to the folded edge of the patch. The pressed edge of the patch (previous step)  is now against the shirt.  Be sure that the shirt fabric (beneath the patch) and the patch are pressed flat. You don't want either to be bunched or wrinkled.

NOTE: The shirt is now inside out.  

Pin the patch in place from this side.

NOTE: Shirt should still be inside out.

Sew a small whip-stitch all the way around the patch. 
Catch the folded edge of the patch and a few threads of the shirt for each stitch. Only a small stitch will show on the outside of the shirt. It's hard to see the stitching in this photo so refer to example 1 (EX1) & example 2 (EX2) below.

Note: This is still the inside of the shirt

EX1. Detail of whip-stitch with green thread on a scrap of white fabric. Catch the folded edge of the patch and a few threads of the shirt for each stitch. Only a small stitch will show on the outside of the shirt. 

EX2. Detail of whip-stitch with green thread from the outside. Only a small inconspicuous stitch will be visible on the outside.

The whip-stitch around the patch is complete. Keep your stitches small for stability. Give it a good press then turn the shirt right-side out.

The shirt has been turned right-side out. You can see the cut edge of the hole with the patch fabric in the middle. Give the area another pressing with the iron.

Fold under the cut edge of the hole and press. Try to fold the edge under at least a 1/8"-1/4"....this may be difficult in some spots but do your best. I find using a large pin or tip of my scissors to fold the edge under helps. See the next image.

Using the tip of my scissors to fold under the edge. I'm not cutting anything, just using the tip to push the edge under.

Once the edge is folded and pressed,  pin it in place and press again. Below is a video of the stitch I used next.

NOTE: I'm big on pressing if you hadn't noticed....😀

The video above shows how I stitch the folded edge of the hole to the patch underneath. I call it a 'reversed whip-stitch' (there's probably an official term but I don't know it).  Basically, I'm doing the whip-stitch, as before, but I don't want the slanted stitches to show on the outside of the shirt, just the small inconspicuous ones...so I reverse it. It's hard for me to explain. I hope the video helps to make it clear. Try to keep your stitching small. The smaller the stitch, the tighter the seam.

The tiny reverse whipstitch is complete around the hole edge. Press again.

NOTE: This is the outside of the shirt.

Sew a small running stitch around the outer edges of the patch. It should be about 1/8" in from the outside folded edge of the patch. You can do this from inside or outside the garment. In other words, either turn the shirt inside out to sew along the patch edge or from outside of the garment if the patch edge is discernible. Since I could see my patch edge from the outside of the shirt, I chose to sew from the right side.

Once the running stitch on the outside edge is complete, do the same thing on the hole edge. Keep the stitches about 1/8" from the folded edge of the hole. Sew with the garment right-side out.

The period patch is complete. It will probably last longer than the fabric around it.

Here you see how much bigger I cut the hole due to the thinning fabric around the tear. Ultimately, the mend will be stronger.

It's not as pretty as 'new' but my husband will get a few more years out of it...hopefully.

How to Wear It: The Day Cap

HOW TO WEAR IT: The Day Cap

The day cap is an item of clothing that ladies of the early 19th century were very familiar with. It served a practical purpose as well as a fashionable one. Many female docents find wearing a day cap awkward. It oftentimes appears the cap is wearing them not the other way around. The trick to being comfortable and looking like it’s a part of your everyday ensemble is to know how to wear it properly.

The first thing to consider is the purpose of the caps. There was a wide range of day caps worn by our ancestresses. Some were worn at specific times of day or specific times in life. When choosing a day cap think about who you are portraying and what you're interpreting. A fashionable cap of expensive lace and ribbons is probably not going to be worn by a laundress or field-hand.

Do you like the cap you're wearing? Does it suit you? Not every cap looks becoming on every face. If possible, try on a variety of different styles to find one that feels right and you like the look of. When you feel good in something it shows. There is a large selection of day cap styles in the Stephenson House wardrobe. Docents are encouraged to try them all. An important thing to keep in mind, as a docent, are interpreting the clothing of the time period in conjunction with the era. You want to give the illusion that these are your everyday clothes, not a costume.

Another thing to consider is whether the cap is the right size for your head. One size does not fit all in this case. If you have a cap that looks like it’s eating your head, then that’s a good indication it’s the wrong size. Some caps were originally cut fuller to accommodate more hair and others sat very close to the head. Many patterns on the market are based on measurements from extant caps. Resizing is a relatively simple thing once you know how a particular cap is constructed. Again, trying on House caps is a good way to check the fit since they are made straight from a pattern without modifications.

A day cap should frame your face not cover it up. The biggest mistake docents make is pulling the cap so far forward that it covers part of the forehead. Another no-no is wearing a cap like a chef’s toque. A day cap should sit on the back two-thirds of your head, not directly on top or over the forehead.

The early 19th century had a very distinctive day cap silhouette. When choosing a cap be mindful of fabric, shape and your hairstyle. A modern hair cut can drastically affect how a cap looks and fits.  Women in the 1820s typically wore their hair longer so it could be pulled back from the face and pinned up on the crown. Their caps were designed to accommodate this style. Docents can easily achieve a period profile while hiding a modern haircut underneath their caps. Stiffer, yet lightweight, fabrics such as organdy or well-starched linen will hold it’s shape without the need for a period coif for support. Whenever possible, modern hair should be pulled back from the forehead and hidden under the cap. Curls around the face are acceptable but not bangs. Bobby pins or headbands help to secure the hair when necessary. Don’t let a modern hairstyle destroy all the study, research and effort put into your historical interpretation.

It should be mentioned that day caps were not worn 24/7 by every woman. Ladies with fashionably dressed hair, often went with their hair uncovered. One historical myth often told at historic sites or by reenactors at events is that women who went without a cap were prostitutes...this is completely incorrect. Look at paintings from the period, there are lots of women from all social classes not wearing day caps.

The Art of Tying a Cravat: Noeud Gordien.

It has been my long-held belief that my husband is actually the reincarnation of Beau Brummel. He can be annoyingly precise about the fit and tailoring of his historical garments (so much so that, as his personal tailor, the thought has crossed my mind on occasion that a few forgotten sewing pins left in strategically placed seams might be warranted). One area where he lacks Brummel's skill as a fashionable perfectionist is in his ability to tie a neckcloth or cravat. But, he is okay with this deficiency since he has me to apply the finishing touch to his 'dandyism'. 

This year for Christmas I gave my husband a copy of the 1828 publication by H. Le Blanc, The Art of Tying the Cravat: Demonstrated in Sixteen Lessons, Including Thirty-two Different Styles. My thought, when purchasing this book, was he might learn how to tie his own neckcloth without following me around in a perpetual state of undress at reenactments or prior to the start of a special event at Stephenson House.  Although he did read the book, the natural dexterity it takes to tie a proper knot is a skill he doesn't possess. So, fair reader, my plight as Beau's neckcloth-tying servant shall continue despite my best efforts.

One of the many knots presented by H. Le Blanc is called the Noeud Gordien; or Gordian Knot. The original 1828 publication came with five illustrated plates for the reader to reference how to tie the various styles. Unfortunately, the reprinted book does not include the original illustrations. Luckily after some internet trolling, I stumbled across another blog that had uploaded all five original plates (and provided a wonderful article on "The Art of Tying the Cravat") which allowed me to download and print them all. Obviously, the addition of the plates makes figuring out the techniques much easier.

The Noeud Gordien is a simple knot to accomplish (unless you're my husband).  The following excerpt is taken in its entirety from a copy of the original 1828 publication by H. Le Blanc, “The Art of Tying the Cravat: Demonstrated in Sixteen Lessons, Including Thirty-two Different Styles”. The accompanying modern images are my interpretation of those shown in Plate B and are provided to aid in the visual demonstration of the original technique.

 The original illustration of Plate B from H. Le Blanc 1828 publication "The Art of  Tying the Cravat: Demonstrated in Sixteen Lesson, Including Thirty-two Different Styles".

Noeud Gordien.

[Plate B, fig. 6, 7, 8, 9, 10, and 11.]

     It would be very difficult to offer to our readers an exact and perfectly intelligible explanation of this most elegant style—-of the sovereign of Cravat ties, the Noeud Gordien, the origin of which is lost in the obscurity of antiquity.

     Notwithstanding the laborious researches we have bestowed on this interesting subject, we have hitherto been unable to discover the name of the genius to whom the honour of this invention is due. We only know (and it is, we believe, generally known) that Alexander the Great, irritated at being unable to comprehend the theory of its composition, and determined not to be foiled, adopted the shortest and easier method of solving the question—that of cutting it with his sword.

     In our own times we occasionally meet with young aspirants, who, in the fullest acceptation of the term, adopt the Gordian tie; with this difference, however, that when they wish to untie it, as a sword like that of the Macedonian monarch is too cumbersome for their delicate hands, they make use of a pair of scissars, with which they are more familiar—but to our subject.

     We confess, with regret, that we can only speak imperfectly of this interesting tie ; but as theory is nothing when compared to practico, we will endeavour to address ourselves to the eyes, rather than to the judgment of our readers, in the conviction that, though we may be unable to accomplish our object entirely, we shall, at least, approach it as nearly as possible. Attention !

My version of the cravat/neckcloth shown in Plate B, Fig 6, measures 68" long by 6" wide. I have folded and pressed it to resemble the illustration. There are no measurements provided in the 1828 publication since cravat/neckcloth size was dependent on the style of the knot being tied; some required longer cloths and others shorter.

PROBLEM.

     In the first place, the Cravat for this tie must be of ample size, and properly starched, ironed, and folded (as shewn plate B, Fig. 6); whether it be plain or coloured is of little consequence; but a rather stout one should be preferred, as it will offer more facilities to the daring fingers of the beginner who attempts to accomplish this chef-d’ ǽuvre.

     It will then be necessary to meditate deeply and seriously on the five following directions.

Figure 7. My cravat/neckcloth was slightly wider than the 1828 illustration so I created a horizontal fold at the center front to make it fit the neck. The fold will be covered once the cravat is tied.

     I. When you have decided on the Cravat, it must be placed on the neck, and the ends left hanging (as shewn plate B, Fig. 7, first time).

Figure 8.  I have used a yellow-headed pin to indicate "K" from the original illustration and a pink-headed pin to indicate "Z".

     II. You must take the point K, pass it on the inside of the point Z, and raise it (same plate, Fig. 8, second time).

Figure 9. Bring "Z'" underneath "K" and out the other side. An opening will be formed between the two tails (seen between the yellow and pink pins)

     III. You lower the point K on the tie, now half-formed 0 (same plate, Fig. 9, third time).

Figure 10. Take the tail of "K" up behind "Z" and through the center of the opening created in Figure 9. My hand is holding "K" after it was brought through the opening.

     IV. Then, without leaving the point K, you bend it inside and draw it between the point Z, which you repass to the left, Y; in the tie now formed, Y, O, you thus accomplish the formation of the destined knot.

Figure 10.5. This image is not represented in the original plate but is discussed in the section below. It shows the knot after it has been tightened

     V. and last. After having tightened the knot, and flattened it with the thumb and forefinger, or more properly with the iron, mentioned in the preceding lesson (see plate A, Fig. 5) ; you lower the points, K, Z, cross them, and place a pin at the point of junction H, and at once solve the problem of the Noeud Gordien.

Figure 11. The finished knot. I did not have a nice tie pin to hold the tails together so I improvised with my pink-headed sewing pin.

     He who is perfectly conversant with the theory and practice of this tie, may truly boast that he possesses the key to all the others, which are, in fact, derived from this alone. A Cravat which has been once worn in this way, can only be used afterwards en negligé, as it will be so much tumbled by this intricate arrangement.

     The slightest error in the first fold of this tie will render all succeeding efforts, with the same handkerchief, entirely useless—we have said it.

     We would, therefore, seriously advise any one who really desires to be initiated in the mysteries of this delightful science, to make his first essay on a moderate sized block. We can confidently assure him that, with moderate perseverance, he will soon be enabled to pursue his studies with pleasure and advantage—on himself.

(A careful examination of the figures referred to in this lesson is strongly recommended).

Making Fire with Flint & Steel

A great demonstration that never fails to impress visitors at the Stephenson House, is creating fire using flint and steel. Kids and adults are equally impressed. Small children often think it's magic (and how cool is that?). It will take some practice to get the technique perfected but it's totally worth it, plus you never know when you might need such a useful skill (like, as a contestant on Survivor or when lighting a flaming arrow to shoot at an attacking horde). Here is a step-by-step guide to making a fire using flint and steel. 

The basic items needed:

• a piece of steel - procured from a blacksmith or mercantile. Be sure your steel is properly hardened or it will not make a spark.
• charcloth - made of linen or cotton fabric  Check that your fabric does not contain modern components like polyester. 
• flint - have a piece big enough to hold easily between your thumb and first finger.
• tinder - old rope such as jute or hemp that can be cut into 3" sections, separated and shredded. 
• tin box - used to make charcloth and keep supplies dry when stored.
• kindling and wood - when building a fire in a hearth start out with small sticks and wood pieces. Don't use larger pieces until you have a good fire base.
• more dried tinder -  dried leaves, old paper, pine cones, etc. to help build the fire.

Additional items you might find useful but are not necessary in order to do this demonstration.

• fat wood matches - small slivers of fat wood to act as a simple match once you have a flame.
• candle - to light with a fat wood match.

Small kindling stacked log cabin style between two andirons.  Inside the 'log cabin' are dried leaves.

Begin by stacking small pieces of dry kindling 'log cabin' style in your hearth. I use small wood branches from the yard and/or very thinly chopped pieces from a small log. In the photo above, I've used both types. Don't start off with big logs because you'll never get a fire going (not unless you've brought a whole lot of lighter fluid or a flame thrower and I definitely don't recommend either option). Be sure your wood is seasoned and very dry. Green or wet wood will not work. Once you've created the 'log cabin' then fill the center opening and spaces between the sticks with dried leaves, grasses, old paper, pine cones, etc.  Use what you have on hand. Here I've only used dried leaves.

Gather a stack of smaller logs to use once your base fire is going strong. Put them close to where you are working so they are within easy reach in order to feed the fire.

Now the fun begins! There are four main ingredients needed to make what I call a 'nest-o-flame'; flint, steel, charcloth, and rope tinder.

Find a good-sized piece of flint. It should be big enough to hold between your thumb and first finger with a portion extending past both. Flint is a hard sedimentary form of the mineral quartz. It comes in a variety of colors ranging from pink to black. It's important the piece you'll be using has a sharp edge to strike the steel against.

Several different colors of flint. Flint has a 'milky' quality to its color that makes it easy to pick out of a pile of rock.

Take some old jute rope that is no longer good for anything (Use only untreated, natural fiber rope). Cut it into 3" lengths so its easy to unravel. Begin shredding the sections until you have a small bundle of strings that resemble a bird's nest. See the photo below. This nest is the tinder used to get a flame started.

We have a large supply of old jute rope at the site. Rope is usually made up of several strands twisted together. Cut the rope into 3" sections for easy shredding. You'll want to shred enough to make a small bird's nest slightly bigger than the one pictured above.

Charcloth will be used to catch the spark. 

To make charcloth: cut cotton or linen fabric into small pieces and fill your tin box. The tin box needs to have a hole in the top (or a small one drilled through both the lid side and box lip then matched up). Place the lid on the box. On a day you have a fire burning in the hearth, put the tin box into the hot coals. A flame about 2"-3" high will shoot out of the hole in the lid. Once that flame stops you'll have charcloth. Use fire tongs to remove the box from the fire and let it cool. DO NOT PICK-UP THE TIN BOX WITH YOUR HANDS UNTIL IT COOLS! (Seems obvious, but there's always someone....)

The next ingredient needed is charcloth. This item is what will 'catch' the spark from the flint and steel striking together, ultimately igniting the nest. (See above instructions on how to make charcloth) There are a couple different methods used when catching a spark. What will be shown in this tutorial is the way I was taught many years ago and it's worked pretty well.

Charcloth is laid on top of the flint.

Place a piece of charcloth on top of your flint. The edge of the charcloth should be close to the sharp edge of the flint but not over it. Hold the steel in your dominant hand (the hand you write with) and the flint/charcloth in the other hand. Keep the flint/charcloth horizontal with the floor (see photo below), keeping your thumb and fingers away from the striking edge. You will be striking/skimming the sharp edge of the flint with the flat edge of the steel. It's important to slide the steel down the sharp edge of the flint in a striking motion; fast and hard but barely skimming the flint edge. This will be the hardest part of the demonstration to master. 

I am holding the steel in my dominant hand and the flint in the other. All of my fingers are positioned away from the edges. You will cut your knuckles if they make contact with the sharp edge of the flint. 

Charcloth laid on top of the flint. Strike the flint by skimming the steel down the sharp edge of the flint.

When the steel strikes the flint in the correct way you will have sparks fly from the contact point. The charcloth is used to catch these sparks. It may take several strikes before a spark lands on the charcloth. Once a spark 'catches', the charcloth will begin to glow red hot. Place the charcloth on the 'nest' and gently fold the nest over it. It's important that you don't fold the nest too tight or you will suffocate the spark. Keep the nest loose but cover the spark and start blowing on the area where the spark is glowing. Rotate the nest if necessary and keep blowing. If all goes well, the nest will catch fire. Be ready for the ignition of the flame because you'll have to move fast to avoid burning your hand.

Sparks from striking the flint with the steel. Note: I do not have any charcloth in this photo but it was a good image of the sparks.

Once the charcloth catches a spark it will begin to glow red hot. Place it on the nest.

Loosely fold the nest over the charcloth.

The nest with the burning charcloth wrapped inside.

Blow on the nest. You may need to rotate and re-wrap the nest to encourage it to catch fire.

Success! I have FIRE!!!!!

If you have prepped a hearth as discussed above then put your 'nest-o-flame' into the center of the log cabin and tinder. The tinder will catch fire. Add more tinder if necessary until the kindling starts to burn. Once the kindling is burning, add the smaller split pieces of wood, a few at a time. Don't throw everything on it at once or you may put it out.

Once the nest catches fire, place it in the prepped kindling and tinder.

Larger pieces of kindling are added as the base layer begins to burn.

If everything has gone according to plan, you will have a nice fire burning in the hearth. Keep in mind this demonstration can cause injury (you are playing with fire). At some point, you will cut your knuckles, singe a fingertip (or ten) and burn a little hair (who really needs eyebrows anyway?). Please do not attempt this demonstration without the appropriate items and area listed (not a good idea to do this in a room without a working fireplace...again stating the obvious). I would recommend having a bucket of water or a fire extinguisher on hand...just in case.

**Want to see more? Check out this "Making Fire, Part 1: Flint& Steel" video I filmed at the 1820 Col. Benjamin Stephenson House. There is even a bonus less on making charcloth.